Im Folgenden befindet sich eine Auswahl hochqualitativer Text-Schriften, dies ist eine Auswahl der Linotype Schriftexperten. - Lassen Sie sich von unseren persönlichen Favoriten inspirieren!
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Dokumente, die sich auf diese Artikel beziehen ...
Einleitung
Kurz vor Jahresschluss ist genau die richtige Zeit, noch einmal einen Blick auf die besten Linotype-Schriften der letzten zehn Jahre zu werfen – bestimmt sind Ihnen viele dieser Schriften inzwischen durch Ihre tägliche Arbeit bestens vertraut!
Während der späten 90iger brachte Linotype viele neue Schriften auf den Markt und veränderte damit weltweit die Art der Kommunikation. Viele unserer Schriften findet man rund um den Globus auf den Computern, einige davon sind in [...]
Agilita™ ist eine neue humanistische, serifenlose Linearantiqua, entworfen von Jürgen Weltin. Ihre eher klassischen Proportionen mit deutlich ausgeprägten Unter- und Oberlängen formen eindeutige Wortbilder.
Sie ist charakterisiert durch dynamische Einzelformen, die sich jedoch in ein klares und funktionales Gesamterscheinungsbild fügen. Dadurch ist Agilita sowohl eine geeignete Schrift für den Mengensatz als auch für komplexe Aufgaben im Informationsdesign, wie z. B. Leitsysteme.
Folglich [...]
Football Jersey Fonts
Football is in the air! Like all great team sports, football (or soccer, if you are in the US) inspires its fans to identify with their favorite team’s players, and sometimes even with a specific city or country. Each football team has its own visual identity, and the appearance of their logos and jerseys are one of the most exciting areas of graphic design. And it is no surprise that fonts play a strong role!
Below are images of just a few of the jerseys known and [...]
Introduction
Many typeface catalogs, including our own, group all serif typefaces together under one umbrella-category. But in truth, there are many different kinds of serifs, e.g., Renaissance serifs, baroque serifs, unbracketed modern serifs, Latin serifs, wedge serifs, etc. One of the most popular styles of seriffed letter, especially for display type, remains the slab serif.
The slab serif is a genre of letterforms that has been in use for almost 200 years. Throughout this time, many [...]
Hier finden Sie eine Auswahl an verborgenen „Schrift-Schätzen”. Möglicherweise kennen Sie schon einige, aber kannten Sie alle?
Viel Spaß beim Anschauen!
Wie wäre es mit einer serifenlosen Schrift, einer Schreibschrift, oder vielleicht mit einer Frakturschrift? Jeden Monat stellen wir an dieser Stelle einige andere Schriften aus dem unerschöpflichen Fundus der Linotype-Schriftsammlungen in den Mittelpunkt – hier finden Sie unsere aktuelle Auswahl.
Erwerben Sie arabische Schriften aus der Linotype Library
Unser Angebot umfasst eine ganze Reihe neuer, moderner sowie traditioneller arabischer Schriften. Diese sind im OpenType-Format erhältlich und unterstützen die Sprachen Arabisch, Persisch und Urdu. Aber das ist nicht alles: Diese Schriften enthalten auch einen lateinischen Zeichensatz („Basic Latin”), der dem arabischen Zeichensatz in Stil und Fette angepasst ist, sowie einen Satz proportionale Ziffern. Sie entsprechen in [...]
Richard Isbell, a contemporary graphic designer and type designer of Detroit, Michigan, created the fonts Americana® (1965) and ITC Isbell® (1981, with Jerry Cambell). He designed Americana in honor of the then upcoming U.S. Bicentennial. The most distinguishing feature about Americana is its extremely large x-height. The letter proportions are very wide, with short ascenders and descenders. Americana works well for short texts, such as headlines or ad copy.
ITC Isbell, is a highly [...]
The German designer Karin Huschka created the fonts Linotype Authentic™ (1999), Chineze Dragon™ (2002) and Picture Yourself™ (2003, with Peter Huschka).
The text font Linotype Authentic is part of the TakeType Library, chosen from the entries of the 1999 International Digital Type Design Contest.
Picture Yourself was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH.
Designer Erwin Koch created the following fonts: Angro™, Dalcora™ (1989) and Monanti (1989).
The Italian designer Francesco Simoncini (died 1967) created the fonts New Aster™ (1958), Simoncini Garamond™ (1961), and Life® (1965).
Jürgen Weltin was born on May 8th, 1969 in Constance. After schooling and swimming a lot in the Lake of Constance he worked in a publishing house before he started to study graphic design at the Technical College in Würzburg. After an apprenticeship in design company Stankowski + Duschek and after one term at Bournemouth & Poole College of Art and Design he graduated in Würzburg under Reinhard Haus from Linotype presenting the beginning of the new typeface Linotype Finnegan®.
Then he [...]
German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia™ (1983), Comenius® Antiqua BQ (1976), Edison™ (1978), Kompakt™ (1954), Marconi® (1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976), Optima® (1958), Optima nova (2002), Orion™ (1974), Palatino™® (1950), Palatino nova (2005), Palatino™ Sans (2006), Saphir™ (1953), Sistina® (1950), Vario™ (1982), Venture™ (1969), Virtuosa® Classic (2009), [...]
German artist Tim Ahrens created the font Linotype Aroma™ in 1999.
Please take a look at the personal designer portrait of Tim Ahrens.
German designer Gudrun Zapf von Hesse created the following fonts:
Alcuin® (1991), Ariadne® (1954), Carmina® (1986), Christiana® (1991), Colombine® (1991), Diotima® (1952), Diotima® Classic (2008), Nofret® (1984) Shakespeare™ (1968), Smaragd™ (1953).
Please take a look at the personal designer portrait of Gudrun Zapf von Hesse.
German designer Carla Schweyer created the font Linotype Ambigue™ in 1999. The original name was "Confidence". This font family receives the first prize at the German Kurt Christians-Foerderpreis in 1997/98. This professional typeface is available in the weights Light, Book, Regular, Medium, Bold and Black. Its interpolated weights offer a subtle differentiation in the grey levels. A special "Small" weights is available which offers a better readability in small point sizes like lexica and [...]
Swedish designer Mårten Thavenius created Aptifer™ Sans and Aptifer™ Slab for the Linotype Library in 2006. Apart from designing type faces, Mårten Thavenius develops user interfaces for online solutions, mostly complex web based applications and portal systems. Visual design, usability and readability as well as technical implementations are on his daily agenda. He is currently working as a Senior GUI Architect at IBM.
Marten Thavenius lives in Belgium and Sweden.
Visit Mårten’s foundry [...]
Ong Chong Wah (born 1955 in Malaysia) created the fonts Abadi® (1987), Bookman Old Style™ (2005), Delima™ (1993), Footlight® (1986), Mahsuri Sans, Ocean Sans® (1993).
These fonts are part of the Monotype Library OpenType Edition.
Ahmed Lakhdar-Ghazal, Director of the Morocco Institute of Research et Studies on Arabization, created the font ASV Codar® in 1999.
ASV Codar is a modern Arabic text typeface with two weights: ASV Codar Light and ASV Codar Bold. Both of the fonts ship in the OpenType format, and include Latin glyphs (Palatino® Roman and (Palatino Bold inside the font files, allowing a single font to set text in both most Western European and Arabic languages.
The two ASV Codar fonts include the [...]
Find further Font Features in our Font Feature Archive.
These arabic fonts are available from Linotype:
Amer™
Ahmed™
Al Harf Al Jadid™
ASV Codar™
Badr™
Firas™
Hakim Ghazali™
Hassan™
Hisham™
Insan™
Isra™
Jalal™
Karim™
Kufi™
Lotus™
Maged™
Mariam™
Midan™
Mitra™
Mofid Mahdi™
Nazanin™
Qadi™
Sultan Free
Sultan Nahia
Yakout™
Hermann Zapf is renowned the world over as a master calligrapher and type designer. Throughout his tremendous life, he has contributed volumes to the history of typography. His oeuvre encompasses text faces, symbol fonts, and even script designs, such as the new classic Zapfino. So many of his typefaces have entered our daily lives that it is impossible to image contemporary design without them. Below are all of his digital designs for Linotype.
More about the fonts:
Aldus™
This typeface [...]
Mårten Thavenius designed Aptifer in 2006. The typeface family consists of two subfamilies: Aptifer Sans and Aptifer Slab. Each of them has seven weights – thin, light, regular, medium, semibold, bold, and black – in roman and italic respectively, making 28 font styles in total.
A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined with the openness and legibility that comes from the [...]
Finding function in light and flexible forms
Bad Homburg, 26 January, 2007. Linotype launches one of the lightest fonts ever – Agilita™, a new OpenType sans serif, both adaptable and lively. In smaller point sizes, the hairline weight of Agilita is so fragile, it pulsates with the possibility of disappearing and reappearing. The larger the point size of the hairline, however, the more it wants to take charge, its delicacy lifting off the page and grabbing the eye. In heavier weights, Agilita [...]
Five font families for a new season
Bad Homburg, 26 January, 2007. A new year is here, time to get back to the drawing board. Linotype has been busy sourcing the latest originals all year and to kick off the new year, launches five new font families in OpenType format. Each family offers its own dash of color and originality and can be employed for a variety of graphic communication needs. The fresh additions to the Linotype Library – Sunetta™, Aptifer™, Linotype Aroma™ OT, Anno™ and OCR A [...]
Font Designer: Tim Ahrens, 2000
Tim Ahrens about Linotype Aroma™:
"I started designing this typeface about half a year after learning that Frutiger was not a new brand of sweets and that Garamond is not the name of a fragrance.
In time it became clear that designing a sans serif must always be considered as a transformation of traditional serifed typefaces instead of deriving it from typefaces that have been derived from others which have been derived from others again.
I [...]
Font Designer: Hermann Zapf, 1954
Aldus® was designed by Hermann Zapf and appeared with the font foundry D. Stempel AG in Frankfurt am Main in 1954. Zapf named this font after the famous Venecian printer Aldus Manutius, whose work is among the most important of the Renaissance period as well as Zapf's inspiration for Aldus. Linotype Aldus was introduced by Linotype as a text font lighter than Palatino®. Zapf's goal with his Palatino and Aldus was to create a new form of Old Face [...]
Font Designer: Hermann Zapf, 1954
Aldus® was designed by Hermann Zapf and appeared with the font foundry D. Stempel AG in Frankfurt am Main in 1954. Zapf named this font after the famous Venecian printer Aldus Manutius, whose work is among the most important of the Renaissance period as well as Zapf's inspiration for Aldus. Linotype Aldus was introduced by Linotype as a text font lighter than Palatino®. Zapf's goal with his Palatino and Aldus was to create a new form of Old Face [...]
Various usage samples of Linotype Ambigue.
For a larger view please click on the images
Font Designer: Mårten Thavenius, 2006
Mårten Thavenius designed Aptifer® in 2006. The typeface family consists of two subfamilies: Aptifer Sans and Aptifer Slab. Each of them has seven weights – thin, light, regular, medium, semibold, bold, and black – in roman and italic respectively, making 28 font styles in total.
A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined [...]
Font Designer: André Maaßen
The impulse behind André Maaßen's design of the Anno™ typeface was the design of a New Year's card for the year 2000 (Anno 2000). His desire to create the perfect printed image developed into a family with four styles: Anno 1, Anno 1 Italic, Anno 2, and Anno 2 Italic. Anno 1 and its Italic are semi-classicist typefaces, with a high degree of stroke contrast, while Anno 2 and its Italic are semi-grotesks, with less stroke contrast. Both Anno 1 and Anno 2 [...]
For a larger view please click on the image.
This text shows Linotype Finnegan’s possibilities of combinations.
Schriften der Platinum Collection
Die ersten Zeichnungen von Jürgen Weltin, nach denen Agilita digitalisiert wurde, entstanden Anfang 2000.
Über Text-Schriften
Aldus is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Ambigue, Angro, Anno, Aptifer, Linotype Aroma and Linotype Authentic are trademarks of Linotype GmbH and may be registered in certain jurisdictions. ASV Codar, Agilita and Alcuin are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. Aurelia is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.
Americana is a registered trademark of Kingsley/ATF.
Antique Olive is a trademark of Madame Marcel Olive.
New Aster is a trademark of Simoncini.
Abadi and Albertus are trademarks of The Monotype Corporation registered in the United States Patent and Trademark Office and may be registered in certain jurisdictions.
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